Chapter 2 Graphology Graphology exercises

© Karen MalcolmMalcolm, K. (2010) Phasal Analysis. London: Continuum. 1

Chapter 2 Graphology

Graphology exercisesp. 28 Exercise: Culture and Register

1. Write

i. a shopping list

ii. a recipe

iii. a short prose restaurant review.

2. Describe how the graphological choices you have made are distinctive in each register.

3. Describe how the graphological choices you made in each register reflect the three func-

tions of language.

4. Discuss how the graphological style of each register is related to its cultural context

(CCC).

© Karen MalcolmMalcolm, K. (2010) Phasal Analysis. London: Continuum.2

p. 47 Exercise: Graphological Analysis Analyse the following Dodge Challenger Rallye advertisement graphologically fol-lowing the example in your textbook.


Graphology answer keyp. 28 Exercise: Culture and Register

1. Write

i. a shopping list:

bread

fruit

salad dressing

soya sauce

veggies

cereal

milk.

ii. a recipe:

Fall Muffins 3 cups flour ½ cups grated cheddar cheese

2/3 cups sugar 2 eggs

4 tsp. baking powder 1 cup apple juice

1 tsp. salt 2 cups melted butter

1 tsp. cinnamon 2 cups grated apple

Combine first five ingredients. Add cheese. Beat eggs with apple juice. Stir in

butter and grated apple. Add flour mixture. Stir just until moistened. Pour into

greased muffin cups. Bake at 375° F for 25 to 30 minutes.

What’s Cooking Montrose? p. 61

iii. a short prose restaurant review:

Spice/herb combinations delight the taste buds Coyote Cafe packs ‘em in [Winnipeg Free Press Fri, 3 December 1999]

By Marion Warhaft

THE FIRST time I called for a Saturday reservation was in the middle of an ordi-

nary (i.e. non-holiday) week. I was too late. And on the nights when I was able

to get a table, the place was packed. Coyote Cafe is sizzling hot. Don’t even

think of dropping in on a weekend without a reservation.

The attractive, softly lit room is nicely divided into several intimate areas, with

walls done in soft desert tones, accented by a few cacti and several quirky

prints. The tone is big city, but nice big city, without attitude.

What has changed is the cooking, for almost a year now under the direction

of Andy Arjoon. Arjoon was the original chef at Storm. His style, always experi-

mental, has become even more so here.

You have to like herbs and/or spices, since almost everything is herbed and/

or spiced, often in dizzying combinations. Some of the descriptions sound odd,


but the execution usually is flawless, and most of the dishes that I had doubted

turned out to taste delicious.

Diners can choose their degree of heat, and nothing I chose was blistering.

Among the starters, for instance, deep-fried squid ($7.95) were only lightly cur-

ried, and served with a gentle mango aioli. Possibly the best dish I tasted was

mussels ($13.95) in a superb garlicky sauce, based on onions and tomatoes,

and subtly sparked by chili and Japanese wine vinegar.

The dish labelled Chinese Take Out is a buy at $9.95 – a bowlful of egg ver-

micelli with shrimp and mixed veggies in a sauce lightly flavoured with coconut

milk, crushed peanuts and (more forcefully) sesame oil.

I ordered duck benedict ($19.95) with blue cheese-walnut hollandaise, mainly

in the line of duty and, I confess, with misgivings. It surprised me. I still prefer

the classic version, but this one did taste good – runny poached eggs, tender

duck breast, crunchy cornmeal biscuits and a smoky sprinkle of bacon bits. I’d

have preferred, however, the promised hash browns to the roasted baby pota-

toes I got.

I also liked the more-conventional-tasting chicken breast ($15.96), stuffed

with chicken mousse, caramelized bananas and asparagus. Also spice-crusted

arctic char ($20.95) steamed in savoy cabbage leaves and permeated by the

tantalizing tang of lemongrass. . . .

Service is pleasant and thoroughly professional. The wines are well selected

and there is a fairly good choice by the glass.

2. Describe how the graphological choices you have made are distinctive in each register.

i. list

If I were doing this outside this textbook, I would likely handwrite it messily in pen

or pencil on a scrap of paper with ragged edges.

Because it is a list, I would arrange the items in one or two vertical columns.

ii. In books, recipes are printed using an optimally accessible font, following the edi-

tor’s specifications.

In recipe boxes, recipes are often handwritten on cards of a particular size to fit the box.

Recipes for either purpose / venue generally follow much the same format: a

printed list of ingredients (echoing, likely purposefully, the aforementioned shop-

ping list), followed by a short prose passage with short sentences and often fol-

lowing paragraph conventions which describes the process by which the

ingredients are mixed together, often accompanied by a picture of the finished

food enticingly presented.

iii. The prose passage is likely written in an accessible font following traditional sen-

tence and paragraph conventions concerning spacing and indentation appropriate

to the particular conventions of the venue and register, for example, newspaper

restaurant review with columns etc.

3. Describe how the graphological choices you made in each register reflect the three func-

tions of language.


i. shopping listtextually written to be read, or possibly dictated, single word column graphological

character;

experientially, each item in the column represents an item to be purchased;

interpersonally, the shopping list is often marked as informal by its messy handwrit-

ten, scrap paper format.

ii. recipetextually, written to be read, one list which has a particular kind of relationship with

the prose passage which follows it or to which it is juxtaposed (if beside it)

experientially, the recipe list represented, by a graphological column, includes a

number and measurement followed by a lexical item concerning food; the prose

passage which follows will carry a lexis and syntax reflecting the process aspect of

preparing food

interpersonally, the graphology of different recipe books can be quite different

while maintaining the list of ingredients and prose process passage. Some, describ-

ing the culturally prestigious ‘cuisine’ of famous French chefs, might use what the

culture considers a very elegant, quite formal, font, spacing and length; while reci-

pes featuring 10 minute preparation would use a font, spacing and length reflect-

ing a more casual relationship

iii. restaurant reviewtextually, in prose paragraph form to be read;

experientially, using lexis and syntax reflecting food and a critique of the food;

interpersonally, the graphology of a food review in a newspaper follows the con-

vention of being in a column, generally read from top to bottom. The font is gener-

ally a neutral font, one that does not express individuality, and one that is clear and

easy to read. As well, graphologically the sentences are shorter as to appear easier

to read.

4. Discuss how the graphological style of each register is related to its cultural context

(CCC).

The graphological style of each of the three registers is very much a function of its

geographical, temporal and social context. Specifically, the graphological style of

these registers has been described in terms of Canadian, twenty-first century, middle

class, gender and age unspecified interlocutors. If the decoders were from quite dif-

ferent cultures they might not even be familiar with such registers, let alone this par-

ticular variety of English. And for that matter, each recipe book and newspaper has its

own specific graphological style, although it would still adhere to general registerial

expectations.

p. 47 Exercise: Graphological AnalysisAnalyse the Dodge Challenger Rallye advertisement graphologically following the example in your textbook.


A. AnalysisPreparationCar ad with a car at the top of the page, writing below using English alphabets.

First Impressions: dated ad, fast car, typical, directly to male decoder / receiver– text is communicative to analyst although the analyst is from a somewhat different Cul-

tural Context (some decades later, female, North American, more specifically Canadian)

– Dodge and Chrysler logo and lexis suggest that this ad was produced in the United States

– landscape behind car, although impressionistic, resembles mid-west and southern, high

desert states.

Hypothesis: the car ad looks like a typical example of such a register in the late-twentieth-century, targeted to a male audience.

DescriptionVerbal Communication

1.a. The verbal text at the bottom third of the page is written in three paragraphs spread

over three columns, following regular upper and lower case conventions.

One Arabic numeral is used: 35. Punctuation is used predictably following syntactic

independent clause conventions, although in the last paragraph the first two grapho-

logical sentences are not complete independent clauses Dodge Challenger Rallye. A

special kind of road machine for a special breed of man.

Some bolding has been used for emphasis of certain words, no italics or underlining.

Because this ad was first produced in the early 1970s for a magazine, it follows the

typical magazine font and margins of that time. The ad has been reproduced on a

website of dodge ads, but its earlier format has been kept intact.

The verbal text that makes up the paragraphs is consistent. However, the verbal graphs

outside the paragraph are different:

the title of the verbal text Wanted: Men who can handle a real road machine. Dodge

Challenger Rallye. is in the largest bolded font of all the verbal graphs on the page;

the model’s caption Extra care in engineering makes a different in Dodge . . . depend

on it is in a slightly smaller font, but still bolded;

the words with logos are written on the visual text: ‘Dodge’ on the top left and

‘CHRYSLER, MOTORS CORPORATION’ on the lower right.

1.b. i. Experiential – normal English graphs encode typical lexis pertaining to cars etc. (cf. p. 97

Chapter 4); upper case letters emphasize ‘CHRYSLER, MOTORS CORPORATION’.

The red letter graphs (the rest are black) emphasize ‘Dodge’ in the upper logo. Capi-

talization highlights the title words: ‘Wanted: Men. Dodge Challenger Rallye.’, and the

caption words: ‘Extra’ and ‘Dodge’. Throughout the paragraphs, certain words are

capitalized, although they do not begin the sentence: ‘Challenger Rallye (2x)’, ‘Chal-

lenger’s Electronic Ignition System’, ‘Dodge Dealer’.

ii. Interpersonal – the relatively formal font typical of magazines is used in the ad, encoding

the distant impersonal relationship (strangers) between producers and receivers of the ad.


iii. Textual – brand names are emphasized by upper case letters (see experiential).

Paragraphs and columns create a graphological coherence for the verbal text, with title

preceding it and caption following it, creating a graphological frame to the rest of the

verbal text through bolding and sizing.

Visual Communication2.a. Art work used as the visual component of the ad, in upper two-thirds of the page, is a natu-

ralistic art work that represents the car participant (lower half / foreground of the visual,

front and centre) against a more abstract landscape (upper half of the visual) of a road curv-

ing upwards over rugged rocky landscape. An illusion of movement is accorded to the car

by a blurred road as well as upward strokes that look like air / dust flowing past.

2.b. i. Experiential – Participant – car only, even driver of car is obscured by represented

window glare

Action Process – oblique lines between participant and landscape background

Circumstances – spatial – rocky mountainous landscape; time – illusion of speed,

passing of time;

Narrative representation.

ii. Interpersonal – contact – offer; social distance – social / medium; attitude –

oblique angle, interactive participant empowered by higher angle than represented

participant; Knowledge orientation

Modality – not full colour saturation; not full colour differential (limited palette),

fairly naturalistic colour modulation;

not completely naturalistic background context, but still quite recognizable; so it is

somewhat abstracted only, illusion of depth through perspective of participant and

winding road through landscape; unnatural and minimal illumination, muted col-

ours, not bright.

iii. Textual – represented participant car salient, single car framed by roadway and

landscape only;

information value – horizontal axis – new: CHRYSLER logo; given: dodge logo, car

participant centralized;

vertical axis – top / dream – rugged landscape; bottom / reality car.

Note – in terms of the entire page and not just the visual image, the textual informa-

tion is slightly different: horizontal axis – both car visual participants and verbal text

centrally positioned / justified;

vertical axis – top / dream – visual image of car; bottom / reality – verbal text.

3. Multi-modal text – likely, given this was first produced in a magazine, before most

decoders’ reading pathways had changed dramatically as a consequence of multi-

modal web pages, it is likely that decoders saw the picture of the car first as they

flipped through the magazine, noticed the logos, possibly read the bolded and large

font words, and then decided whether or not they would read the complete verbal

text. If they did, they would have followed North American, English speaking, reading

pathway: top to bottom, right to left.


B. ContextualizationInteractive Situation – field – magazine ad; mode: written to be seen and possibly read;

personal tenor: producer of ad unknown to receiver public of ad; functional tenor: to

persuade / sell

Represented Situation – field – car travelling through landscape; mode: picture to be

seen; personal tenor: no people, only car; functional tenor: to interest and attract

decoder in order to sell

Register – magazine car ad

Purpose – see functional tenor above

Strategy – verbal text – mixture, some description; visual text – narrative (see experiential)

Metafunctions (see visual and verbal descriptions)i. Experiential – cars and more (see Chapter 4 also)

ii. Interpersonal – interactive producer of ad and unknown public receiver of ad

iii. Textual – single page multi-modal text including visual and verbal text

Linguistic context – a. placement of text in magazine, and magazine – unknown

b. see p. 97 for lexical analysis

Cultural context and dialect– temporal – 1973, geographical – North America – Ameri-

can car, American producers, but Canadian as well as American receivers; social – target

audience / decoder for this model males between 16 and 30, middle class (at the time,

thought of as a masculine ‘hot’ car). 0 – encoder is advertising consultants for Chrysler

The word on the car’s engine is Pacer, which draws the world of car racing and cars that

set the pace for race cars into the meaning of the visual and verbal text. In addition,

rather than a typical licence plate combination of letters and numbers, the licence on this

car reads the brand name of the car DODGE CHALLENGER.

C. ResultsMajor – visually, the picture of the car dominates; verbally, English graphs, graphological

sentence, paragraph and column conventions dominate (this is a more complex and

varied text verbally than visually (see Chapter 4, Lexis, and analyse semologically etc.)).

Minor – visually landscape; verbally, emphasis through bolding and size of font, one number

Predictable - graphological choices quite predictable in visual and verbal texts

Unpredictable - less predictable: that car given illusion of motion, and that driver obscured,

Also less predictable that art work used to represent car rather than photograph, but to

say more would require analyses of more car ads of the period.

Note - I have not counted individual graphs in the verbal text; I could have if I thought it

would contribute to my interpretation of the text.

D. ConclusionsSummaryGraphologically, the visual text makes up the upper two-thirds of the magazine page, while the verbal text makes up the lower one-third of the multi-modal text. The visual


image focuses on the car, although the car is pictured on a road that winds through a rocky mountainous background of the sort that occur naturally in America’s south-west states. The car is pictured as if it were in motion, speeding through the barren, rugged countryside. Only as small portion of the driver’s head is represented. Interest-ingly, the visual image is taken from art work rather than a photograph. The verbal portion of the text follows magazine standards with regards to columns, complete sentences and conventional paragraphs for the most part, other than a few bolded, capitalized and enlarged words pertaining to the brand name and sellable features of the car. In addition, in the final paragraph of the verbal text, the punctuation is at odds with syntax, as the graphological sentences, initiated with capitals and ending with periods, do not correspond to complete independent clauses.

InterpretationIn terms of registerial conventions, this ad is quite predictable with the focus on the car that producers are trying to sell both visually and verbally. Magazine ads typically include verbal and visual elements graphologically, with different sized fonts, and special effects like bolding to emphasize what is most salient in the ad, and what is most likely to convince the targetted market to buy the product being advertised. Whether the choice of art work over photograph, and ‘moving’ car over ‘unmoving’ car is predictable or not would require further analyses that lie beyond the scope of this discussion. It is interesting that in terms of cultural context, the ad, which is over 40 years old, is much more verbal than contemporary ads. This may reflect the increasing visual orientation of the public, with its 40 years of inter-net access. Certainly, the increasing familiarity and expectations of multi-modal texts to both producers and receivers has affected the evolution of registerial choices.

What is perhaps most interesting concerning this particular car ad is the values of the target consumers it encodes. The lexical analysis of Chapter 4 points to this; how-ever, there are also graphological features that suggest a comparatively young male target consumer, who values speed, a rugged, barren, isolated, ‘masculine’, cowboy-like landscape, where he can challenge and empower himself as a hypothetical driver by speeding, unencumbered by anything or anyone. There are no ‘feminine’ colours, but only colours that fit in with the landscape. In addition, if the analyst were male, he might be able to comment in greater depth about the type of vents, hub caps, Pacer word on the engine that characterize this particular represented participant / car. Still, since the analyst is of an age that she remembers the car, she can say it was con-sidered a trendy car by young men who value powerful sexy machines. At that time, elitist and classist high school students considered such cars ‘greaser cars’ intended for male students interested in automotive mechanics. The point is, in its cultural context, this particular car was not family-oriented nor female-oriented. It was not a


‘neutral’ car. And while the graphological choices of the verbal text in particular do not contribute much to this sexist and classist stereotype, there is some support for such values in the visual choices that the producers have made.

Review of graphological analysisAnalysisPreparationNote first impressions of the graphological style of the text:

Describe the obvious generally.

Is the text communicative to you? Completely? Partially?

What graphological features make this text communicative to you?

Does the text include verbal and or non-verbal graphs? Letters? Pictures? Other?

Where is the text from?

How does the text build on your cultural expectations?Formulate preliminary hypotheses based on dialect and register.

DescriptionVerbal Communication

1.a. Describe the Verbal Graphs

If the text is written in English letters, does it follow conventions concerning the use of

lower and upper case?

Are numerals used: Arabic, Roman?

Punctuation – Is it predictable, following conventions, or unpredictable?

Have special effects been used: italics, bold, underlining, other?

Is the text handwritten / printed or typed? If typed, what fonts have been used? Size of

font?

What is the layout / composition of your text (margins, justification, location of text)?

What spacing conventions / constraints are used: paragraphing, indentations, double-

spacing, stanzas, lists?

Is the verbal portion of the text consistent in choice of font, size, tenor, effects?

1.b. Describe how each metafunction of language is encoded verbally.

i. Experiential function – choice of letter graphs and type of numeral, by the range of

punctuation devices, spatial conventions of positive space, and relationship to negative

space;

experiential focus may be emphasized by special effects, e.g. bolding, underlining,

italicizing and the like.

ii. Interpersonal function – choice of style, font, writing tool, ‘paper’, legibility, and

punctuation as deliberately formal or informal, signalling cline of social distance (friend

to stranger)


interpersonal focus may be reinforced by special effects on words and the like that

carry interpersonal meaning.

iii. Textual function – choice of visual marks (written discourse) or sound waves

(spoken discourse), the medium of transmission is further defined by the composi-

tion and coherence of the graphs and blocks of graphs in terms of size, special

effects (positive and negative space), punctuation and spatial conventions (above

and below, left and right) that specify the type of written discourse (to be read,

seen, said, read as thought etc.) by what is made thematically most important by

spatial arrangement, size, colour, and by what is given visual prominence over

something else (foreground versus background).

Visual Communication2.a. Identify the type of non-verbal communication: photo, pictures, charts, equations,

graphs, and the elements that characterize this type of visual communication.

Photographs – represent what is visible to the naked eye in a moment of time, show natu-

ralistic detail (reality is defined on the basis of the correspondence between

the represented participants and what we see in the ‘real’ world).

Diagrams – may make visible what normally is invisible, may depict a process over

time, uses abstract schemata / minimum geometric shapes, may incorpo-

rate verbal discourse too. Charts, diagrams, equations etc. give a scientific

feel that adds credibility to many registers in this culture.

2.b. Describe how each metafunction of language is encoded non-verbally / visually.

i. Experiential function1. Participants – animate or inanimate, usually in foreground – in relational proc-

esses, participants are more generalized, less objective, decontextualized from

setting

2. Processes – Action = oblique lines form vectors between participants, or partici-

pants and circumstances creating the illusion of action, drama

forms narrative representation

Mental = speech / thought balloons, e.g. comic strips

Relational = straight lines relate one participant to another through symmetrical

composition, equal distance from one another, same size, same orientation to

horizontal and vertical axes, angle is frontal and objective

– classification relations are created through visual rep, not real life.

forms conceptual, rather than narrative representation

3. Circumstances (Setting) – background to participants in foreground, often in less

detail, less colour saturated, darker / lighter than foreground participants

– with relational processes setting often plain / neutral background, depth is

reduced / absent.

ii. Interpersonal function1. contact: demand (gaze at viewer) or offer (gaze not at viewer)


2. social distance: intimate / personal (close shot), social (medium), impersonal (long)

3. attitude: involvement (frontal angle) or detachment (oblique angle) or equal (eye

level) or represented participant empowered (high angle) / equality (eye level) /

represented participant empowered (low angle)

Objectivity: action orientation (frontal angle) or knowledge orientation (top /

down angle)

4. Modality Scales: (greater abstraction = lower modality; more natural = higher

modality)

a. full colour saturation, to absence of

b. full colour differentiation, to limited palette, to monochrome

c. naturalistic range of colour modulation eg. many shades of red, to flat

d. absence of background, to full detailed background (contextualization)

e. maximum abstraction, to maximum representation of pictorial

f. absence of depth, to maximally deep

g. illumination representation of full play of light and shadow, to its absence

h. brightness degrees of brightness, to just black and white

iii. Textual function – how things are connected to one another (composition)

1. salience – most eye-catching element due to foreground placement, larger size,

more light, brighter colour, sharper focus

2. framing – elements are either disconnected, marked off from each other, or con-

nected, joined together signifying that they belong together or do not; the stronger

the framing element, the more it is represented as separate unit of information;

absence of framing stresses group identity

3. information value – horizontal axis – right ‘new’, left ‘given’

vertical axis – top ‘dream’, bottom ‘reality’

circular – centre ‘central info’; margins ‘dependent’

(cf. Kress and Van Leeuwen, 1996)

3. Describe the interrelation of the verbal with the visual in a multi-modal text, and

the implications this has on reading pathway, and the possibility of this creating a

unique hypertext.

ContextualizationSituation – Describe the relevant field, mode, personal and functional tenor of the interac-

tive and the represented communicative event.Register – Identify the register of the text.

Are the graphological features of the text a function of the register?

What graphological nuances make your text unique in terms of its register?

Purpose – to humour, entertain, persuade, inform, confront, argue, confirm, teach

(didactic), make a connection (phatic), fill the silence, deceive etc.

Strategy – compare / contrast, argument, classification, process, cause and effect, problem

/ solution, definition, description, narration, dialogue.


MetafunctionsDescribe how the graphological choices highlight particular metafunctions.

i. ExperientialAside from the individual words that are manifested in this text, what verbal or non-verbal

graphs add information about the experience that is developed in this text?

What elements of the experiential have been emphasized visually by special effects such

as bolding, italics, underlining?

Is there a represented situation and culture with represented characters, plot, setting and

themes that are distinguished graphologically?

ii. InterpersonalWhat visual elements contribute more to the relationship between encoder-

decoder than to the experience that is communicated?

Are the special effects used to emphasize certain evaluations or attitudes, rather than

the experience itself?

What tone / personal tenor has the author adopted in her choice of font / handwriting

style? Is it neat, messy, beautiful, ugly? Casual, formal, or a combination?

Identify the mood created by these graphological choices: humorous, ironic, serious, etc.

iii. Textualwritten to be read, seen, said and so on.

theme – Is there a particular visual focus to the text overall? in smaller blocks or

patterns?

coherence / composition – Are there patterns or blocks of positive space that create

coherence in the text?

Linguistic contexta. Does the placement of the text in terms of its larger linguistic context (eg. entire maga-

zine, pamphlet, novel etc.) affect, or account for, the text’s graphological features and

style?

b. Describe the way other linguistic information relates, reinforces and challenges the grapho-

logical choices of this text, for example, lexical, syntactic, semological. (Since there is an

entire chapter devoted to each type of description in this textbook, and you are not expected

to read Chapter 5 before Chapter 2, this section of your graphological analysis might be

brief; however, if you have studied the other forms of analysis already, do comment briefly

on how they relate to your graphological insights.)

Cultural context and dialecta. Who is the encoder? What is her age, ethnicity, gender, nationality? How do her graph-

ological choices reflect her situation, culture, beliefs and values? In other words, how do

they create her social identity and construct her social reality?

b. Who is the intended decoder (the expected / target audience)? How might her situation

and culture, and experience of the register affect her interpretation of the encoder’s

graphological choices?


Who is the actual decoder? How might her situation and culture, and experience of the

register affect her interpretation of the encoder’s graphological choices?

Note: In most communicative events / situations the intended and actual decoder are the

same. However, if you are a student reading Phasal Analysis, you are in a rather different

situation: you are the actual decoder, but you may or may not be the intended decoder.

Results1. Count the instances of whatever special graphological effects might be noteworthy in

your analysis. This does not mean counting every letter and word. But it might mean

counting the number of lines, stanzas, sentences, bolded or italicized words and so on.

2. Note which are major / important graphological features, and which are minor / less

important in terms of the size of the text.

3. Decide which of these features and totals are unmarked / predictable given the situa-

tion, register, encoder and decoder (see conclusions), and which features (omissions as

well as occurrences) are marked / unpredictable, atypical of the register, and hence

potentially significant.

Conclusions1. Summary

Describe the encoder’s graphological style in prose, using examples and statistics when

appropriate.

2. InterpretationHow do these choices serve the encoder in communicating her message?

Why did the encoder choose this graphological style to communicate her message?

a. Describe how this graphological style reinforces or challenges the findings of your

other analyses (e.g. Linguistic context: lexis, syntax, etc.)

b. Describe how this style highlights certain metafunctions: experiential, interpersonal,

or textual.

c. Describe how the graphological style of this text is, and is not, appropriate for the

strategies that have been used to develop it, the register of which it is a member,

and its purpose.

d. Describe how the graphological style of this text reveals the encoder’s situation and

cultural dialect, and that of the intended decoder.e. Describe how these graphological choices might contribute to the actual decoder’s

interpretation, given her situation, culture, familiarity with the register and so on.

Chapter 2 Graphology Graphology exercises

Documents

Transcript of Chapter 2 Graphology Graphology exercises